#did this in like maybe 4 hours

[gordon-freeman-phd]

last man on earth - the mountain goats

[anonymouspuzzler]

cool real thing that happened to me on the way to pax

[mercurymacaroons]

arrives 15 min late with a latte

......sup

[spielzeugkaiser]

not your songbird.

[thedreadvampy]

sometimes I forget that my experience has been. um. not 'your experiences are not universal' vibes but more like 'your experiences are EXTREMELY atypical'

[omppupiiras]

yes i know i am a grown ass adult but somebody please tell me to stop playing with my food

[flompvoidsinsanity]

A Snake's unwanted thought

It's a God eats God world.

Every day I fall more and more in love with various Touhou characters. And Kanako is not exempt from that.

Dialogue written out below cut.

Sometimes I wonder, if you feel it too.

2. This snake(Me), coiling itself around your ankles.

3. I wonder if you feel its tongue on your skin, tasting your pulse.

4. I wonder if you feel, its gaze sizing you up like a mouse.

5. I wonder if you feel, its(My) desire to eat you whole

[leieryx]

for make a terrible comic day except im way too invested i <3 making comicke

good timing though i was just about to draw :)

[shrinevandal]

Initial thoughts on Double and Neoplasm - Who is guilty? What's true and what's a lie?

Hello! This is a (fairly long, sorry) post analysing the MV for Double, as well as Neoplasm, and what it means for Mikoto, Orekoto, a potential 3rd alter, their relationship as a whole, and Mikoto's judgement.

Note: I am a system myself, I am usually not very open about this so please don't ask about the details. But I think it's important to state that I do struggle with a lot of the same stuff Mikoto* does, and so my perception of it comes from a level of understanding that singlets may not have.

Obviously this contains spoilers for both Double and Neoplasm, I would recommend you watch/listen to both beforehand. This is also just my initial interpretation, I have purposefully avoided any other posts about it to make my theory/interpretation as straightforward and from-the-source as possible.

Some terminology notes: I will be using John to refer to Orekoto, as Es has so thoughtfully dubbed him. Also, if I say MILGRAM in all caps I am referring to the project itself, and if I say Milgram in title case I am referring to the location/entity which Es works for. I also believe the 3koto theory, which will become relevant at various points here. Any translators or sources will be linked at the end.

Alright, let's get into it. Music video analysis:

Double - Visual Motifs

There are a lot of visual elements to Double, which I will break down into different sections.

Phone (& Tarot)

There are two major instances of Mikoto's phone being important in the song: Right at the beginning, when he's getting several texts and then an incoming call from "Chief" (almost certainly his boss), and in the middle of the song, when he gets a call from his mom. In the beginning, Mikoto* doesn't even look at the texts, and when he answers the call, he seems to barely be listening.

Translation of the texts are as follows (thank you rochisama on wordpress!):

- Regarding the first draft you submitted today, I think option B might be the best after all, so can you remake it by morning.

- Also, I forgot to mention, but you made a lot of mistakes with the one we spoke about earlier, so make sure it’s all fixed too. This one also needs to be ready by morning, so I’ll leave it to you to get everything ready.

- Oi, get back here now.

- Are you going to abandon your duties?

There are also two fun little details here with the phone: His lock screen is a picture of the Hanged Man, the same version that was on his shirt in MeMe:

Also, His battery is at 29%.

Two of prisoner nine.

Later in the song, when his mom calls him, he immediately picks up, greets her energetically despite the bags under his eyes, and informs her he's doing well and not to worry.

"Oh, hello? Mom? It’s been a while. Yeah… well, I mean, some days are hard, but… I’m doing alright, don’t worry. How’ve you been? I’ll go home next time I get some time off."

He also hangs up very quickly, as if he doesn't want to talk to her. He gives her placating words and then ends the conversation as soon as he can.

According to his S1 Interrogation questions, Mikoto's family consists of him, his mom, and his younger sister. His parents are divorced. He gets along well with both his mom and sister, but also states that he can't let his mom worry. This checks out with him hiding the truth from her, as letting her know just how badly he's doing would certainly cause concern. Keep all this in mind, it will become important later on.

Eyes

I don't have much of note to say about it right now, but eyes are a pretty heavy visual motif throughout the whole video.

One thing I will say about it, though, is the large eyes across the whole screen show up twice: Once as orange, symbolizing John, and then as a grey-blue, symbolizing Mikoto.

Colors

There are five important colors: Blue, Green, Red/Orange, and Pink.

I'm grouping red and orange because I believe they both symbolize John. Blue is obviously Mikoto.

As I've mentioned, I am a fan of the 3koto theory- The visuals in the MV for MeMe, and even the composition itself, allude to 3 different entities (Music theory nerd here, hehe - I wanna write my own take on the 3koto theory eventually and talk about the way the song itself changes, but that's for another time.) And now in Double, it seems like there is still that imagery, albeit much less strongly than before.

So green, like in MeMe, symbolizes Midori/Midokoto/whatever you wanna call him. Pink is a little bit of a weird one, so I'll get to that in the moment. Anyway, let's start with some John moments.

The red glow in the back shows that John is the one fronting in all three of these shots, with Mikoto being asleep behind him in the second one.

An example of blood splatters with an orange tint. This is part of the reason I think both orange and red symbolize Mikoto, since they're so interconnected here. Also, as mentioned in the eyes section, the eyes there are very orange whereas John is usually associated with red.

Speaking of eyes,

Huge 3koto implications in a few frames from this shot. John's body flashes green at one point, and the background and fire-halo are green when John's eyes are glowing orange. In the next image, the body's eyes are scribbled over in green. This scene in particular is very interesting to me, with both implications of Midori's existence and his connection to the eye motif. It also calls John "savior"

Here's another notable instance of 3koto near the beginning, right after John throws Mikoto's phone. Notice the color progression in the scene. Green background with blue text, down to red background and red text. John is clearly being portrayed as an outsider here, with Midori and Mikoto being a duo.

Going back to blood splatters, there are various points in the video where the "inverse" of the blood is either green or blue. This also checks out with both red and orange being John's colors; Blue is the opposite of orange, and green is the opposite of red. This also doubles (haha) as another example of John being the opposite of MikoMido

The train itself has a lot of green highlights. When John stares out the door into the other train cars, it flashes green a few times. It's not pictured here, but the door also flashes a staticky pink once, and so does Mikoto's body earlier in that same scene I showed where it's fully green.

Alright, more on pink now. I'm actually not entirely sure what it may symbolise, but my main guess is it's Mikoto's victims.

Aside from the instances mentioned above, these are the most prominent pink scenes in the video. Similar to how orange was juxtaposed against both blue and green, here it's against blue. In context, these scene also seems to me like a switch, a realization of what Mikoto has done. A brief instance where his memories coexist with him, and he's horrified at his actions.

Double - Overall Analysis

As pointed out in the colors section above, Midori seems to be very present still. He seems to be haunting the video in a way, lying just underneath the surface.

A really important aspect of DID that hasn't been directly addressed by MILGRAM is the fact that it's caused by childhood trauma, usually around the ages 9 to 10 or younger. For those who don't know, this is because young kids have not fully formed their identity and sense of self yet. Usually, kids will eventually consolidate all their various parts into one, which becomes their sense of self. But trauma literally changes how the brain works on several levels, and for some kids, that interrupts the process of those parts fusing together. (This is also why there's discourse behind the idea of an "original" personality - Which one is the "original" between a pair of identical twins, for example? One cell divided into two, so really neither of them are that first cell.)

My theory for Mikoto's childhood trauma and subsequent DID symptoms, is that Mikoto in his current form is the body's "first" alter, and that Midori was the original host. (I have several reasons for believing it's this and not the other way around, but it's not that important for this post. But do think about, "I'm already the fake one.")

We know that John specifically was created as a result of Mikoto's job stress, meaning he was obviously not around when Mikoto and Midori were kids. By the time the events of MILGRAM roll around, it seems like Midori is completely dormant, or at least very rarely fronts, as John seems to pretty clearly imply just his and Mikoto's existence in both Double and Neoplasm. But if John wasn't around when Mikoto was a kid, there has to have been at least one other alter throughout the course of Mikoto's life. You don't just suddenly develop DID at age 23 without having had it since you were traumatized (Unless the MILGRAM team is just clueless about DID, which is possible too but imo they've done a pretty decent job so far so I would rather believe in 3koto. I have faith in them, maybe that'll bite me in the ass eventually, who knows).

Mikoto's childhood trauma is not very clear, but I think it can be one of two main things, and they are likely connected: Either something to do with his parents' divorce, or the reason he is so against worrying his mom.

Mikoto clearly loves his mother a lot, but it seems like doesn't trust her on some level. He doesn't want her to worry, which is an understandable emotion, especially if she puts a lot of pressure on him to perform well, which I have a feeling is the case. (Full disclosure, I could be projecting my own experiences here, because I have had these same struggles with my own mom pressuring me to do well in school and such. But I think it's worth mentioning)

Mikoto clearly hates his job, but he doesn't get a new one. Referencing the Interrogation again, while he seems to enjoy the career path he's on (ie graphic design), the job he currently has is purely to make money, and not for his enjoyment. He also mentions in the Interrogation that he hopes someday he can start his own indie company. In the real world, it's actually very common for graphic designers to start with jobs in advertising, because it makes a lot of money. Then once they have enough to support themselves, they go on to projects they're more passionate about. So Mikoto's reasons for sticking with his advertising job could be either to make money or to satisfy his mom, or both. Again, I could very much be projecting here.

Now onto his dad and the divorce. I won't lie, I am not at all an expert in Japanese law, but I'm fairly familiar with US law because my mom is a lawyer here. So how it usually how it works in the US is that parents divide custody by either working out a schedule or by simply choosing which kid goes with which parent, unless one parent is abusive, in which case all kids go to the non-abusive parent. In Japan, however, apparently the mom is the default parent that kids go to, regardless of other situations, except in some extreme cases probably. Again, not an expert, but it seems that even if Mikoto's mom was abusive in some way, the court system would still give Mikoto and his sister over to her, especially if her form of abuse is purely psychological with no physical evidence. So this is one possibility, but even if both parents were good people and separated on friendly terms, divorce can be traumatizing for kids. It's unclear at what age Mikoto's parents divorced, but it seems to have been long enough ago that he doesn't even consider his dad part of his family. Meaning it's very possibly the main source of trauma that cause Mikoto's DID.

Neoplasm

Alright, finally it's time for the audio drama! This is a much shorter section, but there's a LOT here and I'm really excited about this one actually, because it seems like a step in the right direction for Mikoto and accepting John. He doesn't know it's DID, nor does Es try to tell him, but he acknowledges it as "sleepwalking", which is still super huge. If Kotoko and Es ever choose to inform him, it seems like they have a much better chance at getting across to him now than when MILGRAM started.

John being much more present and coherent is also big news, as he has a full on conversation with Es, and even receives a name from them. Although he expresses concern about this and "wishes he had stayed a monster", I honestly think this is amazing for both him and Mikoto. Along with the sleepwalking analogy, it's progress on their ability to accept themselves and each other.

John also sheds some light on his and/or Mikoto's murder, claiming that there were several indiscriminate victims, and that his memories are also fuzzy, citing that it's likely because he had only recently been born. To me, the most interesting part of this is the fact that John's memories are not intact. While he seems to think it's just due to not really being used to being alive, I think there's another explanation for it. Fuzzy memories are a very common symptom of DID, and most notably happens when one alter tries to access another alter's memories, often because they're being blocked. Maybe in a similar way to how Mikoto doesn't remember anything? 🤔

Another important thing here is that John claims that he is the one who killed people. But the most pressing question is, is he telling the truth?

We know that Milgram's criteria for what counts as murder and who counts as the perpetrator is very loose; For example, Yuno's abortions are enough to qualify her, and Fuuta doxxing Killcheroy is enough to qualify him. So it's not a stretch to think that maybe John really is the killer, and that Milgram just picked Mikoto as the person to be judged since he's the "main" alter. But this honestly doesn't sit right with me.

If there's one thing we know for certain about John and his dynamic with Mikoto, it's that he would do anything to ensure Mikoto's safety. Notice how he was incredibly nonchalant about the murder until Es pointed out that even with psychological evaluation taken into account, the death penalty is still very likely for Mikoto. As soon as they allude to Mikoto being in danger, John's attitude immediately switches, claiming over and over, very relentlessly, that he was the sole killer, and that Mikoto is innocent. His frantic behaviour is a very clear sign that this is survival mode; why would he tell Es the truth if it could put Mikoto in danger?

All of this really goes back to the major differences between them; Mikoto is honest and uses humor to cope, John avoids being open and lashes out at people. Mikoto straight up blocks all the bad memories, John is aware of them but has a hazy recollection of events.

So while it's a possibility that Mikoto is innocent and that John is the killer, I find it much, much more likely that Mikoto did it and then blocked his own memories, and that John is lying about the situation to protect Mikoto. It's what he's always done, after all.

Final thoughts - Forgiven vs Unforgiven

This may be an unpopular take, but I think as of right now, my first instinct is to vote Mikoto as Unforgiven. I'd like to point out that there's a difference between Innocent vs Guilty, which is how the terms are officially translated, but in Mikoto and John's case I think they are interconnected. There are cases in Milgram where I think they're completely separate ideas and cases where I think the difference is moot, and MikoJohn definitely fall into the latter one.

I also am very conflicted on the concept of Metavoting; for example, Amane being voted Unforgiven was an incredibly stupid decision on the majority's part and I'm not afraid to state that. (Tbf Her mental state is delicate enough that forgiving her would also not end well, but lesser of two evils imo. But all that's for another time.) However, with MikoJohn, again, it actually aligns very well with my actual judgement. John very clearly states that it's his belief that forgiving Mikoto will reduce Mikoto's stress, and allow John to fade away. Whether this is a good or bad thing, or neutral even, is pretty complex honestly, but I think for me personally, I would view it as a bad thing.

Again, I am not very open about my system-isms, but I relate a lot to Mikoto in his current state of being unable to accept John's existence. I was in that exact same position once, and for me, accepting the existence of my alters was very beneficial to all three of us, and we are much closer now and less stressed overall. If John continues to exist, that means Mikoto will have a chance to figure things out and accept John's existence. But if John fades, he may be still caught in that perpetual state of half-existence, with Mikoto being unable to accept him.

So with all these things together; the fact that Mikoto is the one we are judging and I am pretty sure he is the killer, the fact that John may fade if Mikoto is forgiven, and how that isn't a good thing in Mikoto's case, and the fact that - I am pretty damn sure I want to vote Mikoto as Unforgiven. This isn't the be-all, end-all, of course. We don't know if John's prediction is correct about disappearing, we don't know if voting Mikoto Unforgiven will actually have the opposite effect that I hope for and drive him to his breaking point, hell we still don't know who did it. My opinion may change because again, this is just my initial thoughts. I'd love to interact with other systems about this and see their thoughts and opinions. Thank you for reading if you made it this far!!!

Translations, Resources, Etc

Chief's texts, translated by rochisama on wordpress

Interrogation questions, referenced from the MILGRAM Wikia. I'm unsure of the translator, sorry.

A/V of Neoplasm, edited by ac on youtube, featuring translation by onigiriico

kayanomikotoba's Triokoto theory (fun fact, this post is one of the main reasons I got into MILGRAM!)

A quick overview on Japanese divorce law, specifically by the US foreign embassy but it's good enough for my purposes

[keeps-ache]

well, you can see it!

[rxkuyo]

"Ahaha Daemon is so dumb for believing the old man is the one actively poisoning him when the weird goth witch giving him weird concoctions is right there."

May I introduce you to a beautiful concept known as sleep deprivation ? Man's only gotten poor quality sleep (if any at all) for weeks for all we know. Mood swings and paranoia are bound to go hand in hand with that one. Logical thinking ? Nope. Not happening. You add the fucking hallucinations further messing up his mind to the mix and you get exactly what we see.

[iwritenarrativesandstuff]

Hello! Hope you don't mind the random ask 🥺 You said after the newest episode that Mushitarou is one of your favorite BSD characters; could you talk a little about your thoughts on him/why you love him/his arc? He's one of my favorites too, and it makes me so so sad how underrated he is, because imo he's one of the most well-written and tragic characters in the entire series, despite how little screentime (pagetime?) he gets :' ) I wish more people would talk about him. Really hope that changes after the next episode 💚

I honestly almost screamed when I got this ask YES I CAN TALK ABOUT MUSHITARO. I CAN TALK ABOUT HIM ALL DAY.

Ok well first of all he is the poor little meow meow. Pathetic scrunkly man. I'm sorry but you can't deny that it's true. Even in-universe, it's like he's the BSD world's chew toy. He keeps getting kidnapped by different organizations with like. No breathing room in between. Give him a BREAK. Funnily enough, I enjoy and usually like to poke fun at these kinds of characters, but they're not typically my favourites. Mushitaro is, by far, an exception to my usual favourite character types.

Second, I am a lover of bittersweet tragic storylines. Yeah. Honestly, the way the storyline built to the slow reveal - I knew immediately after Poe mentioned the water droplets that they were his tears, and I was starting to suspect what was really going on, but the way it was unraveled was so, so painful and beautifully done. Even knowing it was coming today when I watched the episode, it still hurt.

Thirdly, Mushitaro's circumstances raise some intriguing questions we still don't have answered. He was captured by the Seventh Agency and made to work for them with his ability - he considers them a worse alternative to Dostoevsky and refers to them as tyrants. (We also know of another shadowy organization that takes on ability users with useful skills for nefarious purposes, V. V also somehow managed to not be discovered by either the government or Ranpo in 13 years. I'm not saying there's a connection there but... but... there might be. 👀) Anyways, point is, there's stuff goin' on there. And I wanna know. (Also I like the motivation parallels with Ango very much.)

But most of all, I fully agree with you - he is very well-written. What I love most about his character is actually the way his narrative showcases what I believe to be some of the series' character writing's biggest strengths - to excellent (and heartbreaking) effect.

Characters are often revealed to be quite different than what their initial introductions would suggest. Later revelations serve to recontextualize earlier character cues - these early cues are often misleading but not outright lies.

To be clear, this isn't a hard or particularly unique thing in character writing - in fact, this is... kind of a minimum requirement. Your audience should be able to go back after the fact and notice new things about characters that you only get on re-read. But I find BSD is interesting for this because these initial impressions don't frequently tell you what these characters actually value - the "establishing moments" are often incredibly misleading. Mushitaro is an excellent example of this.

The best part of the perfect murder arc is the way it slowly unravels piece by piece - and as it unravels, more and more, we get to see the real Mushitaro. He starts off with these terrifying facial expressions, bragging and boasting about how he is the "detective killer" and how none stand in his way, cackling like a shallow cartoon villain. There's not much there to suggest a deeper character. Then there's the first flash to Yokomizo's murder, and Mushitaro appears to revel in it and the idea that he can't be caught. Another flashback shows him making these arrogant demands of a literal terrorist, like all his tableware being silver and porcelain and having access to a library of occult books for his study. Ok dude. This all paints the picture of a selfish individual, primarily concerned with expensive things and money and image - all things that perfectly fit Ranpo's initial conjecture as to the kind of person behind the Kindaichi murder. And just like Ranpo later says, it's a little too perfect.

The reveal builds slowly but surely, and Mushitaro's built-up image as a dramatic, remorseless murderer crumbles. Because he didn't kill out of hatred at all. He killed Yokomizo because Yokomizo asked him to do so. Because this, and the legacy of a mystery that transcended fiction into reality, was his only friend's dying wish. It was enough for Mushitaro to delay his escape just to fulfill it - what Ranpo refers to as a kind of willing self-destruction.

What Mushitaro ultimately values then is honouring the wishes of those he cares about and repaying those he owes. He will take the secret of Yokomizo's ultimate mystery to his grave. He used what he likely thought were his last moments alive to grab the transceiver and warn Ranpo about the danger the Agency was in. He only decided to trust Ango after Ango admitted his use of the Seventh Agency was to honour Oda's memory and wishes.

So, going back and re-reading his intro again, it becomes more clear that he was suffering from a kind of cognitive dissonance. "But wasn't he just playing the role he was supposed to?" No. He wasn't. The first flashback to Yokomizo's murder is much more violent and ends with Mushitaro cackling and going into a full villain monologue when there is no one else around but him. There's no one to perform this role for - except Mushitaro himself.

Both the killing and the ensuing grief stemmed from the exact same source - Mushitaro loved his friend deeply. But there is, I believe, no small amount of bitterness too, for the way they argued frequently, and the way his friend asked this of him. It's practically irreconcilable in his mind, and so Mushitaro leans into his role as the evil perpetrator who hated Yokomizo to such a degree that I honestly think he started to believe it - Mushitaro, with two narratives in his mind running parallel to each other that are fundamentally conflicting, tried to make a monster of himself. Insisted on being the monster, at least until Ranpo made it impossible for him to deny the true motive behind his actions - protecting his friend's last wish.

Fittingly for the climactic reveal of a mystery storyline that blurs fiction and reality, Mushitaro's real-life grief was his perfect fictional role's undoing.

Is he boastful? Arrogant? A bit of a coward? Absolutely. But Mushitaro is no monstrous villain - he is a man unable to confront his grief over his friend's death, and who, ultimately, doesn't intend any real harm.

Because other than Yokomizo, revealed as an agreed upon assisted suicide - Mushitaro never murdered anyone.

2. Characters are not cured of their pain and trauma. They continue to struggle with it during their development and it actively impacts the way they view and interact with the world around them.

Mushitaro's story is heavily themed around grief and his consistent denial of it's effects on him. At first, he denies by embodying the role Yokomizo wanted him to play - it seems to the point where he legitimately started to lose it. He's slipping when we first meet him. In a weird way, for as much as Ranpo tore his perfect crime apart... I feel like he also saved him, in a sense. The dissonance he was experiencing likely only would've gotten worse if he had not been forced to speak the truth aloud.

After that point... the denial focuses solely on the idea that Mushitaro doesn't miss Yokomizo at all. That he's doing just fine and Yokomizo should be jealous (he's far from fine; he doesn't even see a point in going outside anymore now that he won't be able to see his friend) and that he hated him (he doesn't. he never did. but he has to. he can't deal with it.).

Another thing I really like about his arc is that Mushitaro's grief also clearly stems from the entire thing being traumatic for him - but neither Yokomizo nor Mushitaro are demonized or victimized for this; rather the situation is just shown as it is. It's nice, that the story allows the reader/viewer to draw their own judgements. Both had their reasons for their actions - Yokomizo was already dying and wanted to go out in a way that was meaningful to him, while Mushitaro chose to fulfill this wish in spite of the cost to him. They both mutually self-destructed, in a way.

The narrative doesn't frame either as the villain. It doesn't fully frame either in victimhood either. It's a tragedy all the same.

Mushitaro continues to see and hear Yokomizo wherever he goes, not because he can't get rid of him... but because he never wanted him to be gone in the first place. Stabbing me would hurt less I think. :/

3. Characters often grow and change before they consciously realize it or have any sort of "epiphany".

This ties in a lot with the ongoing theme of uncertainty, and I above all really like this aspect of the series. BSD has characters grow and change and try to be better, do better by themselves and others... without being sure of the outcome. Sometimes before they're ready to consciously admit a change is necessary. There are few epiphanies. The characters are forced to slog through hardship and only then suddenly realize how far they've come - for better or for worse.

Mushitaro does change, even in the short span of time he is a focus character. I love the first little signs of it too - Mushitaro, who doesn't even like mystery novels, uses a trick Yokomizo told him about to help himself, Atsushi and Kyouka escape. Look at him :')

Afterwards, he starts to wonder if he can see Yokomizo whenever he enters a locked room - as in, if connecting to the memory of his friend through what he loved in life will mean that he keeps that memory alive.

And as annoyed as he is with Poe's attempts to get him to write a mystery... a part of him is happy to be around people that he could start to consider his friends. Enough that the Yokomizo he hallucinates wonders if maybe he doesn't need him there anymore. And finally Mushitaro bursts.

But this is actually good. He's finally past that denial phase, the part that had him talking about hate when really he missed him all along. Thing is, he'd already been developing and changing by this point, in that he needed the growth to come to terms with this truth, and it was not the truth that drove the growth.

In a sense, Mushitaro working through his grief and uncertainty led him to a brighter outcome, one where he has more friends and can start anew. He lost the closest person in his life. But his arc continuously asserts that in spite of the fact that he will always miss his friend, Mushitaro himself is still alive. And he should live that life - both moving forward and keeping the memory of his friend with him.

Odasaku believed that writing a novel was to write people. Poe was so insistent on getting him to write because it's a way of seeing the people we want to see anytime we want.

What a beautiful character arc, that began with fiction as an escape from real-life pain, and concluded with fiction as a means to work through it and with it instead.

Plus he's just such a funky little dude.

I. Love. Mushitaro.

[deus-ex-mona]

monachan haul has arrived ✨safely✨

[quietwingsinthesky]

youtube stop recommending me that five hour long “fall of doctor who” video challenge. there is not a video i could be less interested in watching.

[faaun]

ok let's catch up quickly

[thedailyvio]

Day 221 - 223

Characters belong to @enjoliquej

Audio from Game Grumps play Sisyphus Part 1